nigel@athena.mit.edu (Foghorn Leghorn) (02/02/88)
Another two bits on the music business:
4th Movement of Beethoven's 9th Symphony
The Planets by Gustav Holst
Mozart's Requiem
just thought I'd add a little to the subject . . . . .
-nigeltom@phoenix.Princeton.EDU (Thomas C Hajdu) (02/03/88)
>4th Movement of Beethoven's 9th Symphony >The Planets by Gustav Holst >Mozart's Requiem > > -nigel OH MAN....I DONT WANT TO DEAL WITH IT.... and on top of that Holst with Mozart and Beethoven!!! What a joke! fortunately i have cable and i am changing the channel.
paul@uscacsc.usc.edu (acsc staff) (02/04/88)
In article <1630@phoenix.Princeton.EDU> tom@phoenix.Princeton.EDU (Thomas C Hajdu) writes: > >4th Movement of Beethoven's 9th Symphony > >The Planets by Gustav Holst > >Mozart's Requiem > > > > -nigel > > OH MAN....I DONT WANT TO DEAL WITH IT.... > and on top of that Holst with Mozart and Beethoven!!! What a joke! > Why does the music have to be punk or new wave? Intensity is the keynote here and you wont find much music more intense than the Requiem. As I said before it works great in "A Clockwork Orange". -- Paul Nahi Advanced Computing Support Center paul@uscacsc.usc.edu
giebelhaus@hi-csc.UUCP (Timothy R. Giebelhaus) (02/05/88)
In article <1630@phoenix.Princeton.EDU> tom@phoenix.Princeton.EDU (Thomas C Hajdu) writes: >>4th Movement of Beethoven's 9th Symphony >>The Planets by Gustav Holst >>Mozart's Requiem >> >> -nigel > >OH MAN....I DONT WANT TO DEAL WITH IT.... > >and on top of that Holst with Mozart and Beethoven!!! What a joke! Try it before you "splash" it! If you listen to those classical pieces, you may find that they are not quite as boring as you might have expected. Besides, if they can have classical music in the milk bar in Clockwork Orange, why not have some classical music here. Not everything that is old is bad. -- UUCP: {uunet, ihnp4!umn-cs}!hi-csc!giebelhaus ARPA: hi-csc!giebelhaus@umn-cs.arpa Nobody I know admits to sharing my opinions. I don't even have a pet which will share my opinion.
tom@phoenix.Princeton.EDU (Thomas C Hajdu) (02/06/88)
In article <3a16fe27.b263@hi-csc.UUCP> giebelhaus@hi-csc.UUCP (Timothy R. Giebelhaus) writes: >In article <1630@phoenix.Princeton.EDU> tom@phoenix.Princeton.EDU (Thomas C Hajdu) writes: >>>4th Movement of Beethoven's 9th Symphony >>>The Planets by Gustav Holst >>>Mozart's Requiem >>> >> >>OH MAN....I DONT WANT TO DEAL WITH IT.... >> >>and on top of that Holst with Mozart and Beethoven!!! What a joke! > >Try it before you "splash" it! If you listen to those classical pieces, >you may find that they are not quite as boring as you might have expected. > >Besides, if they can have classical music in the milk bar in Clockwork Orange, >why not have some classical music here. Not everything that is old is bad. I had hoped it would not require a particularly close reading of my comments to discern a sensitivity to and experience with these three composers. One of the targets of my knee-jerk reaction was the comingling of Holst with Mozart and Beethoven. This seems to me boorish at best. The REAL offense, however, was the reliance on music of the past for describing a culture of an imagined future. I never said that Mozart and Beethoven were boring -- they are in fact places where I have spent much of my listening life. They seem, however, in this context, to be used merely as pitons poked frantically into the rock wall of the present to try and avoid plummeting headlong kicking and screaming into the future. Tom Hajdu Composer-in-residence Princeton University Music Department
paul@uscacsc.usc.edu (acsc staff) (02/09/88)
In article <1652@phoenix.Princeton.EDU> tom@phoenix.Princeton.EDU (Thomas C Hajdu) writes: > In article <3a16fe27.b263@hi-csc.UUCP> giebelhaus@hi-csc.UUCP (Timothy R. Giebelhaus) writes: > >In article <1630@phoenix.Princeton.EDU> tom@phoenix.Princeton.EDU (Thomas C Hajdu) writes: > I had hoped it would not require a particularly close reading of my > comments to discern a sensitivity to and experience with these three > composers. One of the targets of my knee-jerk reaction was the > comingling of Holst with Mozart and Beethoven. This seems to me > boorish at best. The REAL offense, however, was the reliance on > music of the past for describing a culture of an imagined future. > I never said that Mozart and Beethoven were boring -- they are in fact > places where I have spent much of my listening life. They seem, > however, in this context, to be used merely as pitons poked frantically > into the rock wall of the present to try and avoid plummeting headlong > kicking and screaming into the future. I understand your point and while it does seem an ironic juxtoposition there are some things that transcend time, true aesthetics for one. As has been pointed out the circumstances existing while they were composed may have been quite different than the those extant now but the music still contains as much energy and verve as when it was first played. -- Paul Nahi Advanced Computing Support Center paul@uscacsc.usc.edu
gtaylor@astroatc.UUCP (Good Aim and a large Hunting Boomerang) (02/10/88)
In article <3a16fe27.b263@hi-csc.UUCP> giebelhaus@hi-csc.UUCP (Timothy R. Giebelhaus) writes: > >Besides, if they can have classical music in the milk bar in Clockwork Orange, >why not have some classical music here. There's a serious, formal reason for Anthony Burgess' choice of Beethoven in Clockwork Orange-just as the choice of Russian as the generating point for juvenile slang. The same ideas show up later in Burgess' "1985" as well. A Clockwork Orange addresses specific issues about morality and choice [is one's choice free if conditioned] which are rooted in the philosophical milieu of the post-enlightenment Romanticism of which LVB is a part. The additional connections to LVB as the emotional appeal of choice for persons who've entirely disconnected their desire from their human sensibilities [Nazis weeping through Wagner] is important to the novel's central arguments. I maintain that if Burgess puts Beethoven in a milk bar, he's done it as a formal decision that is directly connected to the world of the text. When you do it with Gibson, you're projecting your personal tastes onto Gibson's construct and imagining yourself as a cybercowperson rather than taking Gibson's text as a starting point. Why, for example, would you not have chosen gagaku music for Gibson? There's clearly more than a little Japanese stuff spread out through his work, and the music of the traditional Japanese courts would seem a good choice for what orientophilia one finds in Gibson. If you're going to locate LVB in Gibson's world, you'll have to have *reasons*. -- the reach of the arm. Gregory Taylor Astronautics the sweep of the eye. 5800 Cottage Grove Rd. Madison the stones thrown at the darkness WI 53704 608-221-9001,x232a outside the fire's circle of light. ...uwvax!astroatc!gtaylor